Earlier this month, a 16-year-old German schoolgirl, Linda Wenzel, who had run away from home, was captured by Iraqi soldiers in Mosul, Iraq. She reportedly faces execution there for joining the ISIS, after being groomed online by a recruiter for the terror cell last year. While German authorities are negotiating with Iraq for Wenzel’s release and return to Germany, the disturbing incident brings to light just how far and wide – and insidious – the reach of terrorist organisations such as ISIS is, in recruiting members.
Recognising this as an urgent global issue, governments across the world have stepped up their game in figuring ways to counter violent extremism online. To support the crucial initiative, Youth Ki Awaaz and Facebook held an intense three-day hackathon session, the Digital #MasalaChallenge, involving groups of young college students, media representatives and other key stakeholders, who pitched ideas for a pilot-project for a Facebook-funded video series on countering violent extremism online creatively.
The hackathon was extremely successful and culminated in an exciting event hosted by Vir Das, where the ideas of two winning teams were selected by top media professionals. Each team was granted a sum of $10,000 to take their ideas forward, and join the fight against terror cells operating in the online space. In times like these, it was truly heartening to see young people from different walks of life pitching in to help counter the hate and violence, by spreading messages of peace and empowerment. For those who missed it, you can still catch the event here!
And it doesn’t end there! Youth Ki Awaaz and Facebook are organising seven more hackathon sessions across India to include more young people in the fight against terrorism online! The second #MasalaChallenge takes place at IIT Kanpur at the end of this month. Take a look at the details here, and follow our Facebook page for updates on the upcoming sessions!
Recently on social media, screenshots of a few Google results were spreading rapidly. The screenshots showed what came up when one searched for ‘North Indian Masala’ and ‘South Indian Masala’. On searching for the former, images of food items were listed and while searching for the latter, images of glamorous women were seen. Though this might seem like a simple matter, it’s not something to be taken lightly.
Google is a tool that most people in the world use to search for information. People believe that the information they come across through Google is true. Therefore, the results that Google lists for the search ‘South Indian Masala’ can seriously mislead people and give them a wrong impression about the people living in south India.
However, the mistake here is not entirely Google’s. We must take responsibility for at least half of the problem. Hence, it is our duty to clean up Google results. For a company like Google which has a south Indian as its CEO, the results could have been better. We see this as a problem for the south Indian image. That’s why it’s important to do something to protect the dignity of our people.
How Can This Be Rectified?
This is not the first time Google results are creating a controversy with its results. A year ago, Google image search was caught in a serious controversy. In the US, when one would search for “three white teenagers”, and “three black teenager’s”, Google images showed pictured of three white teenagers smiling for the first search and mug shots for the second search. This brought Google a lot of criticism and they were accused of being racist. Also, while searching for “top ten criminals”, the images of Narendra Modi were on the top and Google apologized for this by adding a note that these results were based on the Google algorithm and that it was not the company’s view.
How Is This Happening?
We must first try to understand how Google works. “Google can’t understand images the way it understands words, with the help of the dictionary,” said a Tamil news website. As soon as an image is uploaded on the internet, a program called Google spider collects all dates on it and does this with all the websites. The nature of the image is determined by the file name of the image, the content of the article, and the words around the image and so on. More important than all of this is alt text. Google image search is influenced by alt text to a great extent.
Google image results are determined by the above-mentioned factors. When an image of a dosa is uploaded with a file name “Idly”, Google considers it as idly. This is the same problem with this north India – south India issue also.
Even if you type “Indian Masala” we will get the same photographic results and the reason is that some websites have uploaded such images with the title and file name as “South Indian Masala”. But when we type “North Indian Masala”, such results don’t show up because adult websites don’t use the phrase “North Indian Masala” to label these pictures very often.
How Is Google Going To Rectify This Mistake?
Though Google is now using artificial intelligence, Google’s image search needs to improve a lot. Until Google starts using artificial intelligence completely, this problem is not going to be rectified as far as images are concerned.
So please upgrade yourself, Google!
How Can We Rectify This Problem Before Google Upgrades Itself?
We can change the Google image results in two ways. Google uses machine learning techniques to list its image results. First, it gives the images a specific rank and based on the rank, the image gets priority in the search. Later, based on the way users click on images the rank gets changed, and thus, the priority of the images also change. For example, if we leave out the first image of the search and click on the seventh image, then the seventh image will come first after a while, based on the activities of the users.
When we type “South Indian Masala”, and scroll down the list, images of masala dosa will also be there at the bottom. When thousands of people click on the food item, automatically they will start coming at the beginning of the search.
There is also one other way. If you are a blog user then you could easily make a big difference. On your websites and blogs, post images of masala dosa, with the title “South Indian Masala”. While uploading images this way make sure the file name, alt text and the content has the words “South Indian Masala” in it.
By doing all of this, can we really clean up Google results? We can’t do it immediately, but when hundreds of people do this work consistently, we’ll gradually see the change.
The post What Happens When You Google ‘South Indian Masala’? appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.
“Musalsal baarish khidkiyon pe achhi lagti hai chhatay pe nahi”
(Relentless rains feel good on a window, not on an umbrella).
Such was the situation when the widely known romance between Mumbaikars and the rains turned sour. In no time, hundreds of people were stranded throughout the city and the system went for a toss. The city that never sleeps drifted off.
The lifeline: The Mumbai Local was full of stories. Stories that no rain could dampen.
Mumbai rains; Colourful as always. (Location: Santacruz West)Mumbai doesn’t mind pausing to catch a moment. (Location: Santacruz West)
People as they took cover. (Location: Santacruz West)The lifeline: The Mumbai Local came to a halt. (Location: Santacruz West)
Some turned back to find other ways to get home. (Location: Santacruz West)The eager wait. (Location: Andheri West)The never ending delay. (Location: Andheri West)The time better be useful. (Location: Andheri West)After hours. (Location: Andheri West)Refuge. (Location: Andheri West)Brainstorming; When will we be home? (Location: Andheri West)Finally, the arrival. People could head back home (towards Churchgate) only after 2 AM. (Location: Goregaon West)
मुसलसल बारिश खिड़कियों पर अच्छी लगती है छाते पर नहीं।
यूं तो मुंबई और बारिश के इश्क ने कई कवियों को जन्म दिया है लेकिन प्यार में जब खटास आती है तो सबकुछ बह जाना लाज़मी है। कुछ देर की ज़ोरदार बारिश में हज़ारों मुंबईकर जहां थे वहीं फंस गएं और प्रशासन की सच्चाई सड़कों पर तैरने लगी। जो शहर कभी सोता नहीं वो बेचैन था।
शहर की लाइफलाइन मुंबई लोकल हर दिन की तरह खुद में कई कहानियां समेटे थी, और उन कहानियों में वो जज़्बात थें जिन्हें गीली कर जाने वाली बरसात होनी अभी बाकी है।
रंगों से सराबोर मुंबई की बारिश (सांताक्रूज़ वेस्ट)कुछ पल के लिए रुका मुंबई (सांताक्रूज़ वेस्ट)बारिश से खुद को बचाने की कोशिश (सांताक्रूज़ वेस्ट)जब लाइफलाइन, मुंबई लोकल ठहर गई (सांताक्रूज़ वेस्ट)घर पहुंचने के लिए लोकल छोड़ कोई और साधन तलाशने जाते लोग (सांताक्रूज़ वेस्ट)इंतज़ार (अंधेरी वेस्ट)ख़त्म ना होने वाला इंतज़ार (अंधेरी वेस्ट)समय का सदुपयोग (अंधेरी वेस्ट)नींद त्रासदी नहीं देखती (अंधेरी वेस्ट)शरणार्थी (अंधेरी वेस्ट)घर पहुंचने की आस और इंतज़ार ( अंधेरी वेस्ट)इंतज़ार का अंत (गोरेगांव वेस्ट)
दसवीं का लड़का अगर बोर्ड परीक्षा में अपना नाम नूतन से न्यूटन यानी कि NUTAN से NEWTON करवा ले, तो समझिए पूत के पांव पालने में दिख गए हैं। एक न्यूटन वो था जिसके सर पर सेब गिरा तो आजतक फिजिक्स का बच्चा सब परेशान है और एक हैं हमारे समाजसुधारक न्यूटन भइया जो ईमानदारी का सेब किलो के भाव से सबको बेचने निकले हैं।
तेंदिया जैसे घुंघराले बाल वाले हमारे न्यूटन, सरकारी क्लर्क हैं, जिनको इलेक्शन ड्यूटी पर छत्तीसगढ़ के जंगलों में भेज दिया जाता है। जहां उनको पंकज त्रिपाठी बंदूक से देश का भार उठाए मिलते हैं। लेकिन जो सेब न्यूटन भाई खा चुके थे वो अब पूरे शरीर में ईमानदारी बन के दौड़ रहा था सो जंगल में भी कानून बतियाने लगें और वहां के लोगों के बीच वोटर अवेयरनेस कैंपेन चलाने लगें।
इससे ज़्यादा लिखेंगे तो ट्रेलर का भी स्प्वॉयलर हो जाएगा, फिल्म में राजकुमार राव(न्यूटन), पंकज त्रिपाठी, रघुबीर यादव, संजय मिश्रा जैसे कलाकार हैं तो अंदाज़ा लगा लीजिए कि फिल्म में क्या क्या होगा।
It was in 2010 that Pinaki Sarkar and I decided to join hands and begin our film-production house, Alter Ego Films. In the last seven years, we’ve created several short films, commercials and documentaries, which have received a number of awards and accolades along the way.
But this year, we branched out to try something different – our first feature film, “Bultir Result”. The concept for “Bultir Result” was born almost 10 years ago – when Pinaki, writer and director of the film, witnessed a real-life incident that permanently changed the way he perceived mainstream media. His friend, who worked with a news company, had shared an experience of working with a school-topper, who was forced to film with the news company for an entire day, without food or rest. The pitilessness and callous attitude of the media made a very serious impression on Pinaki which has culminated in “Bultir Result” – almost a decade later.
“Bultir Result” poster
The film follows the story of Bulti, a brilliant small-town girl, who defies expectation and tops the West Bengal state board examinations. In no time at all, a media house picks up on the story, pluck Bulti from her town and take her to Kolkata – thereby throwing her life into utter chaos, both in the media house and in Bulti’s hometown. With the film, we attempted to explore intersecting themes – the complexities of living in a middle-class Bengali household, the loopholes in the Indian (particularly West Bengal’s) education system and the lost integrity of media organisations in the race for higher TRPs.
The journey wasn’t an easy one. For instance, we initially tried to get the film financed – but wherever we went, it was the same story – the investors were simply not as invested in our film as we were. They demanded that commercial angles and selling points such as action sequences or a romantic angle be added to the film – irrespective of whether it fitted in the script or not.
However, Pinaki and I were absolutely averse to the idea of compromising and embellishing Bulti’s story to satisfy the demands of producers who were clearly not as invested in the film as we were. Instead, we decided to make the film on our own.
The challenges in making an independent film were unlike any other we had encountered. From getting good actors on board to finding locations and building sets that did justice to the script – we faced many difficulties. For a film running on a negligible budget, building sets is not really much of an option. Instead, we were forced to rely on shooting at real locations. Consequently, it took one-and-a-half years to complete filming – but we persevered and finally finished it!
Today, after all our hard work, “Bultir Result” is in the post-production phase. Having given our all into making this film, we decided to look for alternative avenues for finance and settled upon crowdfunding it. After all, what better way to get your film to the audience than asking them for help? So, we decided that it was time we asked film lovers all around the world who are willing to support independent film-making to pitch in and make “Bultir Result” a reality.
We launched our campaign with a target of raising ₹8 lakhs – and the project has already raised close to Rs. 3 Lakhs! And if all goes well, “Bultir Result” will make history as the first ever independent Bengali film to be crowdfunded!
You can help Bultir Result become a reality too! If you wish to support this film and make way for a thriving future for independent cinema, visit the campaign page of “Bultir Result” onWishberry to know more!
From Wishberry and the National Institute of Design:
We are a nation obsessed with movies. Starry-eyed, we follow the world of cinema and accept everything that it has to offer as gospel truth. And in this glitzy world of cinema, there lies a special corner — the world of animation. Now, many of us have watched the coolest animation films from around the world and spout names like there’s no tomorrow. But do we know the scene when it comes to animated filmmaking in India?
There’s a small, yet growing group of animation filmmakers determined to develop the genre and take it to greater heights in the Indian film scene. One such initiative is Chitrakatha, the National Institute of Design’s annual animation film festival. This year, it has introduced Script2Screen, in collaboration with Wishberry, to give wings to selected film animators’ dreams. Through the collaboration, nine shortlisted films will be turned into actual film projects, if they get produced.
These 9 films are particularly relevant in this day and age, delivering powerful and thought-provoking messages that deserve our attention. Have a look at them below:
BABA
Farmer suicides are a brutal and everyday reality for many in India. This Akshay Malotkar film throws light on the issue through the journey of a little girl, whose father, a farmer, commits suicide.
The One Way Journey
What would you do if you knew that your father was embarking on a journey, with no possibility of return? Drawing from Elon Musk’s SpaceX plan, Suyog Khadikar’s film tells one such story about a boy whose father is about to leave for Mars.
Smriti
Narrated by a 10-year-old boy, Risabh Banshkar’s story strikes an emotional chord, dealing with how a child views his fear of the dark. What’s noteworthy is that the film uses traditional 2D animation to get the message across!
A Strange Night for Mr Shasmal
Adapted from Satyajit Ray’s short story (of the same title), which appeared in ‘Galpo Ekso Ek’ (101 Stories), this story deals with a dishonest man and the demons from his past. The story is crisp, full of suspense and thrills, and also contains an important moral message.
Udaan
Kanhaiyyalal wants to become a pilot but his authoritarian father doesn’t believe in him. Will Kanhaiya fulfil what he believes is his destiny? This is at the heart of Dipantor Talukdar’s film, and is sure to resonate with many of us!
The Cure
Using soot animation, hard-carved models, replicable masks and a built-from-scratch train, Kapil Gopinathan’s film talks about a man’s lone journey to find a cure for his ‘strange’ physicality!
How To Deal With An Impossible Child
Childhood is at the heart of this story as Samyo Ghoshal sets out to regale you with the antics of 5-year-old Tatai as he creates chaos in his surroundings, thanks to his naughty nature!
Dhamachakdi – Pilot Episode: Dhamako!
Kaitav Patel’s Dhamachakdi is a 7-part animated series that brings back forgotten lessons, childhood pranks, and innocent moments that were presumed to be lost in time.
Ghost Electrons
8-year-old Naina, her dog, and a ball teach you that physics is as natural as nature! With this film, Amritha Warrier focuses on explaining what’s generally perceived as difficult concepts such as quantum physics, the concept of electrons, and even experiments such as Schrödinger’s cat, through the perspective of a child.
For all these filmmakers, the greatest challenge has been that there is very little support and encouragement for the animation format, which has been setting them back. But it’s time we changed that, because as history is witness, look at what Walt Disney did!
You can support these filmmakers in completing their projects, too! NID has joined hands with Wishberry, India’s largest crowdfunding platform for Script 2 Screen, to give them a chance to crowdfund their films and take it to Chitrakatha — NID’s annual film festival. To show your support head to Wishberry, and help make these projects a reality!
I won’t blame most people if they haven’t seen the latest trailer for the movie “Chef” since Bollywood has been a huge let down in the past couple of years. The obsessions with creating sequels and trilogies are exasperating, not just in Bollywood but outside as well as it has led the stories to take a backseat.
Seriously, where has originality gone? I need a break from all these unnecessary prequels/sequels, remakes, spin-offs etc. Sadly though, this trend is not likely to change soon.
After remaking decent Hollywood flicks into various unsatisfactory masala entertainers, Bollywood strikes again! This time the victim is 2014 film ‘Chef’, directed by Jon Favreau. The movie is about Carl, a chef who starts a food truck with the help of his son and an ex-co worker after his fall from grace. It is a sweet take on father-son bonding and Carl’s redemption as a chef and as a father.
The trailer for the Bollywood remake of the same name starring Saif Ali Khan released on August 31, 2017, on YouTube. The movie is directed by Raja Krishna Menon, who made “Airlift” last year. While the story line is somewhat the same, one can notice major differences. Honestly, I’m not disappointed by the trailer. Although I don’t think it was necessary to remake the film, I’m somewhat excited. I liked the original movie. It’s an underrated film. I’m willing to give the remake a shot, which for me is a huge thing since I’ve almost given up on Bollywood movies.
What I Liked About The Trailer
Saif Ali Khan plays the protagonist in the film. He has proved himself to be a decent actor despite being a product of nepotism. His knack for comic yet dramatic roles is well known. I hope this is a ‘Dil Chahta Hai’ rather than a ‘Cocktail’.
As shown in the trailer, a large part of the movie features Kerala which is always pleasing to the eye.
It’s all about food! Let’s face it, the original movie was legit food porn. I can not watch it without munching on something. I always get hungry while or after watching it. If everything else fails, at least we have food.
But Why The Irrelevant Foreign Location?
Foreign locations are overused in Bollywood films. They don’t seem to have a purpose in the story. It’s just there to amplify the success of Saif Ali Khan’s character.
However, The Trailer Has Some Elements Of Suspense Inbuilt.
One of the themes of the original is redemption. In the original Carl has an emotional breakdown that goes viral on the internet and costs him his job. I don’t know if it’s so in the remake. The trailer does show a slight hint. It is blink and miss though.
In the original, Carl knows nothing about technology. He doesn’t know what social media is. In fact, one of his rants goes viral because he can’t operate a Twitter account. His son teaching him about technology starts to rekindle their relationship. In the remake, Saif Ali Khan seems apt with technology, I mean he Facetimes with his son – so what’s the twist in this one?
I hope this remake is better than the previous film which followed the trend. I want it to be better. I have my fingers and toes crossed for it to work.
‘ऐसा मत कर तू लड़की है’, ‘ज़ोर से मत बोल, ज़ोर से मत हंस तू लड़की है’, सिर झुका के चल,’लड़की होके बड़ों से ज़ुबान लड़ाती हो? ये सब बातें तब से ही सुनने को मिली हैं जब से कुछ जानने समझने लायक हुई। थोड़े और बड़े हो गएं तो घर से बाहर निकलना बंद, बस काम के लिए निकलो, अपने भाइयों के साथ भी नहीं खेलना बंद। बड़े भाई या पिता जी के साथ चारपाई पर नहीं बैठ सकती क्योंकि तुम एक लड़की हो। घर का सारा काम सीख लो, क्योंकि तुम एक लड़की हो। पैदा होते ही अमूमन हर लड़की को उसके हंसने -रोने, खाने -पीने, बोलने सब के मानक तय कर दिए जाते हैं।
इस तरह जब एक लड़की बड़ी होती है उसको पितृसत्ता का वह रूप स्वाभाविक लगने लगता है जो धीरे-धीरे उसके भविष्य को दीमक की तरह चाट रहा होता है। लड़कियों को उनके और उनके भाई के साथ किया जाने वाला विभेद भी स्वाभाविक लगने लगता है। वह रात को चाहे जितनी देर से घर आए, कोई दिक्कत नही क्योंकि वह लड़का है। पिताजी घर में चाहे जितनी तेज़ आवाज़ में बात करें, गलत होने पर भी माँ के ही ऊपर ही चिल्लाएं पर माँ चुपचाप सुनती जाती है क्योंकि पिता जी एक पुरुष हैं। यहीं से उसमें पुरुष की श्रेष्ठता का स्वाभाविक आभास होने लगता है। और जो थोड़ी बहुत कसर रह जाती है वो घर की महिलाएं पूरी कर देती हैं क्योंकि उन्होंने भी यही देखा और सहा है। इस तरह पितृसत्ता ज़रूरत पड़ने पर इन्हे ही अपने एजेंट के रूप मे इस्तेमाल करती है।
लड़की की शादी होगी तो पूरे परिवार की महिलाएं मिलकर उसके दिमाग में यही बात बैठाने पर लगी रहती हैं कि तुम्हारा पति तुम्हारे लिए परमेश्वर है।
अब शादी होते ही एक सामान्य सा लड़का चाहे वह उस लड़की के योग्य हो या अयोग्य उसका परमेश्वर बन जाता है। फिर परमेश्वर जब चाहे जैसे चाहे उस लड़की का उपभोग करे उसकी नीयत पर तो कोई सवाल उठा ही नहीं सकता। जिस समाज मे पत्नी की दुनिया पति के कदमों से आगे है ही नहीं वहां किसी लड़की के प्रतिरोध का उसके पति पर क्या कोई फर्क पड़ेगा? फिर चाहे वो घुटती रहे ज़िंदगी भर अपने इस पवित्र रिश्ते संभालने की ज़िम्मेदारी लिए हुए ।
विडंबना तो यह है कि जिनके साथ यह घटित होता है उनमे से ही बहुत कम लोगों को इसके बारे में पता है। उनको तो यही बताया जाता है कि ये तो पति का प्यार है और वे प्यार के इसी रूप के साथ अनुकूलित हो चुकी है। पर प्यार जोकि बराबरी और साझेदारी का रिश्ता है उसमें इस तरह का एकतरफा मनमानापन कैसे हो सकता है। अगर पत्नी बीमार है, उसका मन नहीं है तो क्या उसकी मर्ज़ी से कोई फर्क नहीं पड़ता? हां नहीं पड़ता है फर्क, और सबसे शर्मनाक बात यह है कि इसके खिलाफ हमारे देश में कोई कानून नहीं है क्योंकि इससे हमारी परंपरा और संस्कृति की रक्षा में बाधा पहुंचेगी।
हमारे देश मे रेप कानून में कहा गया है कि- जब कोई पुरुष किसी महिला के साथ किसी ज़बरदस्ती से कोई यौन व्यवहार करता है तो वह बलात्कार की श्रेणी में आता है और वह अपराध माना जायेगा परंतु उसके नीचे ही मैरिटल अपवाद दिया गया है कि यदि यही सब एक पति अपनी पत्नी के साथ करता है तो वह अपराध की श्रेणी में नही आएगा।
यौन अपराधों के लिए बनी जे.एस. वर्मा समिति ने भी मैरिटल रेप को अपराध की श्रेणी में शामिल करने की अनुशंसा की थी पर सरकार को यह मंज़ूर नही। जैसे ही मैरिटल रेप पर कानून बनाने की बात आती है भारतीय संस्कृति और परंपरा पर आंच आने लगती है। मैरिटल रेप के खिलाफ कानून मान्य नहीं क्योंकि अगर ये कानून बन गया तो हमारे देश के पुरुषों को मनमानी करने को नहीं मिलेगा। इनको कानून का डर हमेशा सतायेगा।
एक तर्क जो इसके कानून के नहीं बनने के बचाव में दिया जाता है वो है कि इसका दुरुपयोग हो सकता है और इससे पारिवारिक व्यवस्था और विवाह जैसा पवित्र संबंध भी संकट में पड़ सकता है। तो ये तो कॉमन सेंस है कि जो शादी बस कानून नहीं होने की वजह से बचा रहे वो खत्म हो जाए तो बेहतर है। और रही बात पारिवारिक संबंधों के बिखरने की तो उसका दायित्व हमेशा पुरुषों से ज्यादा स्त्रियों ने संभाला है।
अमिता Youth Ki Awaaz Hindi सितंबर-अक्टूबर, 2017 ट्रेनिंग प्रोग्राम का हिस्सा हैं।
Kalakar – the Hindi word for ‘artist’. The genesis of art can be straight away linked to the genesis of human civilization. Hunting was an art, dancing after catching the hunt was an art and, painting the walls with natural colours in order to commemorate the hunting exercise was an art as well. In that era, art simply entertained human existence. It was a form of human expression. And it differentiated humans from any other living beings for it required creativity which, in a certain distinct form, was only possessed by humans.
After a few centuries, however, art was no longer restricted to being just a source of entertainment. It became a classified profession having a tangible value. Art was passed on from one generation to another and like other professions became a hereditary skill set. Rulers patronised artists and artists pampered the art they possessed. This linkage was a necessary one for the survival of art, in the absence of which it perished.
With the passage of time, so many art forms disappeared with their patrons. These art forms comprised of different painting styles, dance forms, theatres, and martial arts. With the disappearance of the characteristic art forms, the artists who earned their livelihood through them also diminished.
This short documentary film directed by Sheshank Kishore Mishra challenges our narrow understanding of an ‘artist’. The film reminds us that artists aren’t simply restricted to air-conditioned cineplexes or sophisticated theatres. In other words, there is more to art than the conventional art forms we see around us.
Occupying the central space in this eye-opening and well-scripted documentary is the plight of ‘band wallas’, who have been an eminent part of our celebrations for years. In Anurag Kashyap’s highly acclaimed “Gangs of Wasseypur”, they are also seen relieving the agony faced on the demise of a beloved.
Vakilu bhai, who owns a band in Ailum, a small town in Uttar Pradesh, narrates the story of his 25 years of servitude, struggle and, devotion. The film beautifully depicts the life of Vakilu bhai who claims to have chosen this profession for the survival of his family.
Those dark circles and wrinkles on his face easily speak for the hardships Vakilu bhai had to face for supporting and sustaining a family of eight.
The maturity of the script is palpable. It is filled with anecdotes revolving around the existence of band wallas as a community. For instance, Vakilu bhai sadly mentions the death of his elder brother due to lung failure, which he further regards as an occupational hazard common in their field.
Within a limited space, the film captures the future of band wallas. Vakilu bhai is convinced that his coming generations will not be clanging cymbals and blowing trumpets. Why would one work in a profession which does not get the respect it deserves, he argues succinctly.
In the background, the film tells us how in terms of living their art, band wallas are no different than people pursuing other art forms. They take their art as seriously as any other artist pursuing any other art. Why then, they ask, are band wallas not treated as kalakars and their art respected?
The filmmakers also reveal how there is a serious dearth of alternative means of livelihood for band wallas. During the off season, they hardly have anything to do to sustain their families. They are landless and have to rely on landed farmers for agricultural labour work.
In a nutshell, one should understand that engaging with short films is a tricky affair. They are supposed to be crisp, concise and clear, all together. The trio of Sheshank, Ehtisham and Preeti do a commendable work in this regard. What is worth noting is that the screenplay, cinematography and music are all in sync and complement each other. This characteristic allows the filmmakers to send the message loud and clear. One gets a feeling that the filmmakers knew what they were up to and in the end, they managed to deliver on their vision.
जिस तेज़ी से भारत सरसराता हुआ बढ़ रहा है, उससे आने वाले कुछ तीस सालों में एक अनुमान के अनुसार यह जनसंख्या में भी सबसे अव्वल आने वाला है। उसी रफ़्तार से सरकार और आवाम की मुश्किलें बढ़ना भी तय है, अगर एक समाज के तौर पर हम खुद को प्रगतिशील, संवेदशील और विकास से जुड़ी समस्याओं के समाधान का हिस्सा ना बना सके तो।
ऑस्कर के लिए नॉमिनेट हुई फिल्म लायन, जीवन की कठिन चुनौतियों का सामना कर रहे एक खास तबके के किस्से को बयान करती है। ये तबका है बच्चों का, हमारे बच्चे, वही जिनके नाम का एक दिन हम बड़ी धूम-धाम के साथ 14 नवम्बर को मनाते हैं। पूरी दुनिया में कुछ 15 मिलियन बच्चे गुमशुदा हैं। नेल्सन मंडेला का कहना था, “हम अपने बच्चों की देखरेख कैसे करते हैं, यह हमारे समाज और राष्ट्रीय मूल्यों का आइना होता है।” अब आप ही सोच लीजिए!
लायन, मध्यप्रदेश की एक पत्थर तोड़ने वाली मां के सरू नाम के बेटे की सच्ची कहानी का फिल्मी रूपांतरण है। फिल्म गुमशुदा बच्चों की ज़िन्दगी, मानव तस्करी, संभावित अपहरण, रेलवे में सोने वाले लावारिस बच्चों, शिक्षा और स्कूल से कोसों दूर कोयला चुराने या छोटे-मोटे काम करने वाले बच्चों, अच्छे खाने और कोल्डड्रिंक के लालच से बच्चों को आकृष्ट करने वाले मीठे ज़हरीले इंसान, अनाथालयों की दुर्दशा, अखबारों में आती रोज़ाना की खबरों- जहां इन सो कॉल्ड रीहेब या पुनर्वास की जगहों में हो रहे शोषण और दुर्व्यवहार जैसे कई मुद्दों पर नज़र डालती है।
सबसे बढ़कर यह फिल्म मां, अभिभावक और एडॉप्शन जैसे मानवीय और सामाजिक पहलुओं की व्यक्तिगत कहानी है। हालांकि फ़िल्म मूलतः एक बच्चे, युवा और ऑस्ट्रेलिया के कपल के इर्द-गिर्द घूमती है। लेकिन यह उन तमाम मुद्दों को छूकर जाती है, जिससे आप बार-बार यह सोचने पर मजबूर हो जाते हैं कि आप अपने जीवन में कितने स्वार्थी हैं और कैसे एक कूपमंडूक की तरह बन चुके हैं।
आप मिलिए सू और जॉन से। देखिए निकोल किडमैन और देव पटेल के उस बेहद खूबसूरत, मानवीय और गहन संवाद को। देखिये कि क्यों सरू और खुद को नुकसान पहुंचाने वाले एक बच्चे मंटोश (Mantosh) को सू ने अपनाया। क्यों अंततः यह उन्हें एक आध्यात्मिक शक्ति का पर्याय लगता है, जब ये दोनों बच्चे उनके पास होते हैं! देखिए वो परवरिश, वो आभार जो एक फॉस्टर मदर (गोद लेने वाली मां) अपने सरू के लिए महसूस करती है। महसूस करिए जब सरू से वो कहती हैं कि एक दिन वो खुद अपनी कहानी, अपना अतीत उसे बताएगा।
एक बच्चे को गोद लेना और उसे उसके अतीत से जोड़े रखना, उसकी याद दिलाना, उसकी संस्कृति और खानपान के साथ-साथ उसे उसके नाम से भी जोड़े रखना मां होने का सच्चा रूप है। जन्म देने वाली मां हो या पालने वाली मां, वो असुरक्षित कैसे हो सकती है? और यहां तो उनके पास तमाम वजहें हैं। सरू की जैविक मां भी तो इतनी ही शेरदिल हैं कि अब सरू की अब दो-दो माएं हैं। सारा जहां अब उसका है।
“सरू की पहचान, उसके भाई गुड्डू और मां के फ्लैशबैक्स, धुंधली यादें और देव पटेल का उम्दा अभिनय- फ़िल्म को मार्मिक और सच्चा बनाता है।”
सनी पवार जब नन्हें लेकिन चतुर सरू के रूप में परदे पर रहते हैं तो वो आपको सुखद बचपन के आपके सौभाग्य पर गर्व करवाते हैं, क्योंकि सरू और उसकी तकलीफ को वो बिना किसी नाटकीयता के साथ निभाकर आपकी पलकों को भिगो देते हैं। फिल्म के अन्य ऐसे बच्चे भी जब एक मार्मिक कड़वी सी लोरी खुद ही गा के खुद ही सो जाते हैं, तो आप सिहर उठते हैं।
फ़िल्म में सिवाय सरू के लव इंटरेस्ट के सब कुछ सटीक, ज़रूरी और सही जगह पर लगता है। सरू की पहचान, उसके भाई गुड्डू और मां के फ्लैशबैक्स, धुंधली यादें और देव पटेल का उम्दा अभिनय- फ़िल्म को मार्मिक और सच्चा बनाता है। सिनेमैटिक दृष्टि से भी फ़िल्म बांधें रखती है, कैमरा सरू की आंखों से उसकी ज़िन्दगी की गलियों को खोजता सा लगता है।
नवाज़ुद्दीन और तनिष्ठा चटर्जी एक छोटे से रोल में भयभीत कर देते हैं। एडिटिंग भी सिवाय कुछ फ्लैशबैक्स के फ़िल्म को कसी हुई बनाती है। अगर सरू की लव स्टोरी वाले पार्ट को हटा दिया जाता तो शायद एक बच्चे से काबिल युवा बनने के बाद के आम जीवन के अन्य वास्तविक या फिक्शनल पहलुओं पर नज़र नहीं पड़ पाती। हालांकि फिल्म थोड़ी कम लंबी और कसी हुई बन पाती।
फिल्म के सबसे अहम संवाद से मुझे महसूस हुआ कि बच्चा अडॉप्ट करना एक डिवाइन एक्सपीरियंस हो सकता है। आखिर क्यों हमें सेरोगेसी या आई.वी.एफ. की ज़रूरत है जब इतनी बड़ी दुनिया में इतने सारे बच्चे एक परिवार के प्यार को तरसते हैं? क्यों भारत में एडॉप्शन रेट इतना कम है? क्यों हम इतने छोटे दिमाग वाले हैं कि अब भी ‘अपने खून’ वाले पुराने ढर्रे पर चल रहे हैं?
इस फिल्म ने मुझे यह भी समझाया कि कैसे एडॉप्शन के बाद बच्चे को उसकी सम्पूर्णता और स्वाभाविकता में अपनाने की ज़रूरत होती है। और यह भी कि कि बच्चों की परवरिश, देखभाल और उनकी तरक्की, एक बेहद ज़िम्मेदारी और संवेदनशीलता से जुड़ा मानवीय मसला है।
हमें गंभीरता से सोचने की ज़रूरत है कि कुपोषित बच्चों, कुपोषित माओं और अनदेखी ट्रैफिकिंग की शिकार इस नन्हीं आबादी को आज़ादी हम दे पाएंगे? सरकारें, गैर सरकारी संगठन, तमाम अमीर, पढ़े-लिखे वैल टू डू लोग- क्या हम इस ग्लोबल दुनिया के सच्चे पैरोकार बनेंगे? एक ऐसी दुनिया जहां हर ऐसा बच्चा हमारा हो सकता है, उसकी ज़िन्दगी को बेहतर बनाने और उसे आम बच्चों सी ज़िन्दगी देने और खुद उन खुशियों को समेटने का वो मौका जो वो हमारी ज़िन्दगी में लाएंगे, क्या हम उन्हें देना चाहते हैं?
भारत के आठ शास्त्रीय* नृत्यों (भरतनाट्यम, कत्थक, कत्थकली, मोहिनीअट्टम, ओडिसी, मणिपुरी, कुचिपुड़ी, कुटियाट्टम) में कत्थक सबसे प्राचीन माना जाता है, जिसकी उत्पत्ति उत्तर भारत में हुई। प्राचीन काल में इसे कुशिलव नाम से भी जाना जाता था। ‘कत्थक’ शब्द की उत्पत्ति संस्कृत के ‘कथा’ शब्द से हुई अर्थात वह नृत्य जिसमें कथा को थिरकते हुए कहा जाए। कृष्ण, राम और शिव की कथाओं की मनमोहक और भावपूर्ण अभिव्यक्ति* कत्थक का एक अहम और बड़ा हिस्सा है।
कत्थक के प्रादुर्भाव* के विषय में ठीक-ठाक जानकारी ना तो कत्थक कलाकारों को है, ना ही कत्थक गुरुओं के पास। इस नृत्य में पहले स्थान में राधा-कृष्ण पर आधारित रचनाओं का वर्णन होने के कारण लोग इस नृत्य शैली की उत्पत्ति कृष्ण युग में मानते हैं। कत्थक में कलाकारों को सौ से अधिक घुंघरुओं को पैरों में बांधकर लयबद्ध तरीके से, तबला एवं अन्य वाद्ययंत्रों की ताल के साथ ताल मिलाकर, विभिन्न कथाओं को अपने नृत्य एवं भाव-भंगिमाओं* द्वारा प्रस्तुत करना होता है। शास्त्रीय नृत्य शैलियों में मुद्राओं एवं भाव-भंगिमाओं* का विशेष स्थान होता है। कत्थक में दो भाग प्रमुख हैं, तांडव और लास्य। एक तरफ कृष्ण भाव एवं एक तरफ सखी भाव।
शास्त्रीय नृत्य ना सिर्फ लोगों को आध्यात्म से जोड़ते हैं बल्कि अपनी संस्कृति से भी अवगत कराते हैं। कत्थक के मूल रूप से चार घराने माने गए हैं: 1)- लखनऊ घराना 2)- बनारस घराना 3)- जयपुर घराना और 4)- रायगढ़ घराना
वक्त के साथ नृत्य शैली में परिवर्तन ना करने के कारण रायगढ़ घराने की स्थिति आज चिंताजनक है। उन्नीसवीं सदी में वाजिद अली शाह के काल को लखनऊ घराने का स्वर्णिम काल कहा जाता है। इसी काल में कत्थक में श्रृंगारिकता का प्रभाव पड़ा, जो आज भी इस घराने के नृत्य में देखने को मिलता है। वर्तमान समय में पंडित बिरजू महाराज इस घराने की बागडोर संभाले हुए हैं।
कत्थक के प्रचार-प्रसार में हिंदी सिनेमा का भी महत्वपूर्ण योगदान रहा है। हिंदी सिनेमा ने कत्थक को एक नए रूप में, या कह सकते हैं कि बदलाव के साथ पेश किया। अभिनेत्रियों द्वारा महफिलों में किए गए नृत्य में कत्थक भी शामिल रहा है। ‘फूलों की सेज’ में वैजयंती माला, ‘गोपी कृष्णा’ और ‘पाकीज़ा’ में मीना कुमारी, ‘उमराव जान’ में रेखा, या ‘देवदास’ की माधुरी दीक्षित। फिल्मों ने कत्थक को ना सिर्फ प्रमोट किया बल्कि मंच एवं घराने तक सीमित इस नृत्यशैली को घर-घर तक पहुंचाया।
“कत्थक वो नृत्य शैली है जो हिंदू और मुस्लिम संस्कृति को जोड़ती है। कत्थक की उत्पत्ति कृष्ण काल में मानी गयी, वहींं मुगल काल में इस नृत्य को नए आयाम मिले।”
कई शहरों, जहां नृत्य को सम्मानजनक दृष्टि से नहीं देखा जाता था, वहां भी इस नृत्य शैली की धूम आज देखने को मिलती है। युवाओं में भी इसका शौक सर चढ़कर बोल रहा है। कानपुर की संजना तिवारी होंं या बनारस घराने से जुड़ी कांतिका मिश्रा, आज देश-विदेश में ये कलाकार कत्थक का नाम ऊंचा कर रही हैं।
कत्थक एक ऐसी नृत्य शैली भी है जो हिंदू और मुस्लिम संस्कृति को जोड़ती है। जहां कत्थक की उत्पत्ति कृष्ण काल में मानी गयी है, वहींं मुगल काल में इस नृत्य को नया रूप एवं नए आयाम मिले। कत्थक ना सिर्फ प्राचीन कथाओं को कहने का माध्यम है, बल्कि अपने मन के विचारों की अभिव्यक्ति का भी साधन है। इस बात को चरितार्थ किया एक युवा कत्थक कलाकार अवनी सेठी ने।
अहमदाबाद में विश्व हिंदू परिषद द्वारा दीवारों पर लिखवाए गए स्लोगन ‘हिंदू लड़कियां लव जिहाद से सावधान रहें’ के विरोध में अवनी ने ‘जब प्यार किया तो डरना क्या’ गाने पर सड़कोंं एवं सार्वजनिक स्थानों (जहां स्लोगन लिखे गए, ठीक उसी के सामने) कत्थक किया। यह उनके विरोध का तरीका था, जिसका ज़रिया उन्होंने कत्थक को बनाया।
यह तो थी कत्थक के पक्ष की बात, अब बात करते हैं इसकी वर्तमान स्थिति की। आज रियलिटी शोज़ के दौर में कत्थक गुमनाम सा होता जा रहा है। अपनी अलहदा सभ्यता एवं संस्कृति के लिए पहचाने जाने वाले हमारे देश में आज जिस मुकाम पर शास्त्रीय नृत्य को होना चाहिए था, दुर्भाग्यवश वह इसके बहुत पीछे है। किसी भी शो में दस पाश्चात्य नृत्यों के बाद, मुश्किल से एक कत्थक प्रस्तुति देखने को मिल पाती है। वर्तमान में कत्थक का हाल बारिश में उगने वाले उस सूरज की तरह हो चला है, जो गाहे-बगाहे बादलों की ओट से देखने को मिल जाता है।
विभिन्न सार्वजनिक मंचों पर एक ओर जहां फिल्मी हस्तियों को बुलाया जाता है एवं लाखों रुपए दिए जाते हैं, वहीं अपनी संस्कृति को प्रस्तुत करने वाले कलाकारों को हज़ार भी बमुश्किल ही मिलते हैं।
अगर खोजने जाएं तो ज़्यादातर लोग ना तो कत्थक के बारे में जानते हैं और ना ही उनके कलाकारों के विषय में।
शास्त्रीय नृत्यों के अस्तित्व के संघर्ष की हकीकत को देखते हुए उम्मीद है कि युवाओं की कत्थक में रूचि बढ़ेगी जो शास्त्रीय नृत्यों को उनका असल स्थान दिलवाने में मददगार साबित होगी।
Psychology and Art have been two equally attractive but mutually exclusive interests for me. That was until I enrolled in the Inktober challenge for 2017 on Instagram, and became a witness to the stunning work done that year by American illustrator Shawn Coss. He illustrated one mental health issue every day for the entire month and I was astounded by the impact those images had on viewers, especially me. Another series of illustrations done by Italian artist Frederico Babina represented mental illness as houses.
These illustrations are attempts to visualise that which is very hard to create a dialogue around, leading me to the idea for ‘Paintings Inside My Head’. Paintings Inside My Head is an attempt to visualise the realities of 13 individuals, living with issues including Anxiety, Depression, Bipolar Disorder, High-functioning depression, and Autism. Mental Health issues are primarily non-visual in their manifestation, thereby much more challenging to identify and understand when compared to physical injuries. The individuals experiencing these may not exhibit their struggles glaringly, and due to the obscure nature of these struggles there exists a lack of dialogue and empathy around them.
To address this opacity, the narratives from these 13 individuals were curated into eight paintings, each representing a different aspect of living with mental health issues. The text accompanying these paintings include the questions that were asked, followed by how the answers were represented, and finally, a reflective question that the art aims to direct to the viewers.
“What Colours Would You Associate With Your Fear? What Colours Soothe You?”
The left half of the face depicts all the colours associated with fear while the right half portrays colours that calm.
An individual represents both sides of the face. Why do we embrace only one half?
“What Words Do You Wish To Never Hear Again?”
These phrases have been spoken by people in response to the daily struggles experienced by the participants. Others include:
“It’s not real.” “It’s your parents’ fault.” “This is a made-up means for selling attention.”
Can you imagine meeting someone with a chronic medical illness and directing the same language at them?
“What Words/Advice/Story Have Been Helpful For You?”
Some of these messages were discovered in books, others in people. Nearly every person who talked about hearing painful verbal attack also found words that healed.
How often, through our words, are we sensitive to the effort required in battling mental health issues? When was the last time you used any of these words?
“Are There Any Actions/Habits/Social Norms That You Feel You Do Not Execute ‘Normally’?”
The people who responded to this question galled about the things they struggled to do on a daily basis, including: multi-tasking, staying in one place, looking like an “ideal girl”, being angry, washing hair, having a healthy sleep cycle, balancing emotions,and being able to talk to people, specially in a gathering.
How would we feel if we woke up tomorrow and struggled to do things we can do so easily today?
“If You Were In An Alternate Universe, Who Would You Be?”
People responded with:
“Someone who can let go of things“; “A zookeeper taking care of pandas!“; “Someone who has support“; “Someone who has love to give“; “Goku, who paints occasionally“; “Someone who can choose to not be born“; “A performer“; “A succulent on someone’s desk“; “A footballer“; “A thestral“; “A singer“; “Someone who can dye their hair bubblegum pink!”
“Use Any Existing Object To Describe Your Mental Health Issue.”
(Responses: a scared cat, a lonely beach at night, fish bones, a dark cloud covering the head, sharp shapes like a triangle, a bowl of spaghetti so knotted and messy that you can only devour in one go, a lone tree,how water feels coming out of a pipe when pressurized, boxes and arrows coloured black, a clenched fist, a half empty cup of coffee, and a black and white picture of a crowd with only me coloured in)
This was one of the most essential questions during the project. For someone who has never experienced any mental health issue, it can be hard to conceptualise. Imagine looking at an object that makes us very uncomfortable. The response is usually to close our eyes, and we want to distance ourselves from the source of discomfort. Now what happens when that object is a feeling inside our mind and closing our eyes is no means to escape?
“Do You Have A Happy Jam? How Does It Make You Feel?”
(songs: Parachute by Coldplay, Love you Zindagi from Dear Zindagi, Cheap Thrills by Sia, Move by Saith Motel, Peace by Schiller, Moora from Gangs of Wasseypur, NaJa by Pav Dharia, Flag Song by Rock n’ Roll Soldiers, and Uptown Funk by Bruno Mars)
This was the more fun one. I spent time listening to the songs sent in response to this and most were already a favourite! You know how your heart beats maybe just a bit faster when you know the words, your adrenaline is on a tiny bit of rush when you know the song is about to peak, and there is that tiniest bit of movement in your body when it’s in sync with the beats? Think of that moment when you look at these sound waves. These are sound waves of happiness, excitement, hope, and in more than one case, the NEED to dance.
“What Is Your Biggest Hope For Yourself?”
The final one and the most important too! EVERY single person replied to this, no matter how difficult their journey had been so far. Says a lot about human will.
I feel immensely grateful to all the people who took a leap of faith and participated in the project. And I hope these visuals and accompanying narratives can create greater sensitivity and empathy.
Images courtesy of the artist. To see more, check out @draftingboard on Instagram!
The post Paintings Inside My Head appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.
Teachers have always been a very important part of our lives. While some imparted knowledge to us with their toughness, some had a friendlier approach. Some teachers became friends, others not really so. We’ve had the kind of teachers who’ve given us life lessons and went beyond the curriculum, to those who stuck to what was required for us to learn from the blackboard. There have been many teachers in our lives but the voices of a few of them stay in the lessons that we’ve learned and the decisions that we make. And, we may not find a lot of ways to say thank you, but I’m sure we can at least find reflections of our favourite teachers in these amazing films that honour their profession and them.
1. Taare Zameen Par (2007)
Ishan Awasthi (Darsheel Safary) was an 8-year-old who saw the world through a different lens. Like most people who don’t understand what having dyslexia is like, his parents thought that he was lazy, his teachers thought he was ‘dumb’ and Ishan suffered in an environment which didn’t know how to accommodate him. When everything seemed to fall apart in his life, his art teacher, Ram Shankar Nikumbh (Aamir Khan) noticed the issues he faced while learning and created an innovative way to teach him. Not only did he help him in academics, he went out of his way to explain what dyslexia is to Ishan’s family and other teachers. He encouraged him in art and built his self-esteem. For someone who’s been through a mild form of this learning disability, I sure see a reflection of my Kindergarten teacher in this film!
2. Dead Poets Society (1989)
Most of us have grown up in schools with rigid structures and strict rules. While rules are important, our education structures often kill our dreams. In a society where doing anything out of the ordinary invites dubious eyes, wouldn’t it be great if we had someone who we could salute with the words of Walt Whitman, “O Captain! My Captain!”? In “Dead Poets Society”, John Keating (Robin Williams) spoke to his students through poetry and literature and encouraged them to go beyond the rigid structures of society and find themselves. When I watched this movie for the first time, it reminded me of my class 12 English teacher. While she wasn’t as grand as Keating, she had her own way of encouraging someone stuck in the science stream to take up the arts.
3. Chak De! India (2007)
Kabir Khan (Shah Rukh Khan) was on a mission to make a good women’s national hockey team out of players who didn’t quite understand team spirit. In a country where women’s sports faces atrocious conditions, the film portrayed how a good coach can make a huge difference. I recall feeling pumped up while watching the film. And, Shah Rukh Khan seemed like that teacher in school who’d be able to make kids who didn’t like each other, work on a project together. I watched this film when I was 13, and it made me see the importance of team spirit and how a good teacher can help cultivate that.
4. Freedom Writers (2007)
Erin Gruwell (Hilary Swank) was a young fearless teacher who taught her students to be more tolerant and to break away from the stereotypes that have confined them. In a place where everyone was racially divided, she inspired her students to be better individuals and to strive for an education that exists beyond the walls of high school. It made me feel that all the hate that exists in the world doesn’t come naturally to people. The students came from a place and a background that told them that being different was unacceptable. But Erin taught them how to be compassionate. What she gives them is what these high school kids needed the most- a voice.
5. Black (2005)
The Amitabh Bachchan and Rani Mukerji starrer film is about the teacher-student relationship between Michelle McNally and her teacher Debraj Sahai. Debraj used harsh teaching methods for Michelle’s long term benefit. He was committed to bringing her into the light and to teach her. Although her parents didn’t approve of Debraj’s methods, they kept him to teach her since they saw some improvement in Michelle’s speech. I was too young to understand what the film meant when I first saw it. However, several years later when I watched it again, I realized how much impact he had on her. I realized it when Michelle made her graduation speech and said that the only person she wanted to see her first in black graduation robes was her teacher, Debraj.
6. Mona Lisa Smile (2003)
Katherine Ann Watson (Julia Roberts) was a free thinking teacher in the 1950s who urged her students to pursue their individuality and not be bound by the gender roles that have been allocated. Katherine teaches them to question social norms and live lives on their own terms. The speech Katherine makes about what lay ahead in the future for the girls was probably one of the most powerful scenes in the film. I remember thinking to myself that if I were to ever become a teacher, I wanted to be like her.
7. Iqbal (2005)
Iqbal (Shreyas Talpade) was a deaf and mute boy who dreamed of making it to the Indian cricket team, one day. However, his father thought that his dreams were a waste of his time and that the team had no place for him. He wanted Iqbal to help him out with the crops and take up farming, instead. After training at an academy didn’t go well, Iqbal sought help from the local drunkard, Mohit (Naseeruddin Shah), who was also a great cricketer. The film gave a really warm feeling of how much someone’s belief in you mattered. Mohit’s unwavering support and confidence in Iqbal helped him clear his Ranji trials despite him having no experience in the sport. When Iqbal didn’t find support from his father, he knew that he could count on his coach. Sometimes, it’s this kind of love and faith one needs to achieve our goals.
8. Dangerous Minds (1995)
Struggling to connect with her students from underprivileged backgrounds, ex-marine turned teacher Louanne Johnson (Michelle Pfeiffer) was only taken seriously when she showed them her martial arts skills. I think that was when she got their respect. That was also when she established her authority. She took the pain and effort to communicate with students in a way that they would understand. One of the scenes that I really liked was when she had the power to report a fight to the higher authorities and have the kids expelled, she didn’t. By the end of it, her students loved and respected her. What made Louanne Johnson an awesome teacher was her determination to succeed and to try new approaches when one failed. She never gave up on her class even though they were considered as deadbeats.
बोल कि लब आज़ाद हैं तेरे बोल ज़बां अब तक तेरी है बोल कि सच ज़िंदा है अब तक बोल जो कुछ कहने है कह ले
फैज़ अहमद फैज़ की ये पक्तियां हिम्मत देती हैं सच बोलने की, अन्याय के खिलाफ आवाज़ उठाने की। लेकिन आज इन आवाज़ों को बंदूक की गोली से चुप कराने की पूरी साज़िश रची जा रही है। मंगलवार की रात इसी साज़िश की शिकार हुईं वरिष्ठ पत्रकार गौरी लंकेश।
मंगलवार रात 8 बजे गौरी लंकेश की घर के बाहर गोली मारकर हत्या कर दी गई। गौरी बेंगलुरू में रहती थी और जब राज राजेश्वरी नगर में अपने घर लौटकर दरवाज़ा खोल रही थीं, तब हमलावरों ने उनके सीने पर दो और सिर पर एक गोली मारी। खबरों के अनुसार, गौरी पर सात बार गोलियां चलाई गई थी, जिनमें चार गोली निशाने से चूक गई और घर की दीवार पर जाकर लगी। कर्नाटक में सांप्रदायिकता के खिलाफ अपने सख्त रुख के लिए लंकेश की व्यापक पहचान है।
इस दौर में हम सिर्फ पत्रकारों की ईमानदारी पर सवाल उठाते हैं उनकी सुरक्षा पर कोई बात नहीं होती।
पिछले दिनों राम रहीम को सज़ा सुनाए जाने के बाद उनकी काली करतूतों का पर्दाफाश करने वाले पत्रकार की हत्या की खबर की भी चारों तरफ चर्चा रही। साल 2002 में राम रहीम पर लगे रेप केस की जानकारी पत्रकार रामचंद्र छत्रपति ने ही सामने लाई थी। बाद में रामचंद्र को इसकी कीमत चुकानी पड़ी और उनकी गोली मार कर हत्या कर दी गई। अब गौरी लंकेश की हत्या ने एक बार फिर सवाल खड़ा कर दिया है कि आखिर मुखर होकर समाज की काली ताकतों के खिलाफ अपनी कलम चलाने वाले पत्रकारों की ज़िन्दगी कब तक दांव पर लगती रहेगी।
राजदेव रंजन
पिछले साल बिहार के सिवान ज़िले में हिन्दुस्तान अखबार के पत्रकार राजदेव रंजन की भी सरेआम हत्या कर दी गई थी। राजदेव रंजन की हत्या शहाबुद्दीन के खिलाफ खबर लिखने की वजह से हुई थी। इस हत्याकांड में राजद के पूर्व सांसद शहाबुद्दीन और अन्य छह के खिलाफ सीबीआई ने चार्जशीट दाखिल किया है।
सामाजिक कार्यकर्ता मेधा पाटकर ने गौरी लंकेश की हत्या के बाद पत्रकारों की सुरक्षा पर सवाल उठाया है। उन्होंने कहा है कि मीडिया की आज़ादी तो ज़रूरी मुद्दा है ही लेकिन, मीडिया सुरक्षा उससे भी ज़रूरी विषय है।
साल 2015 की फरवरी को बांग्लादेश में ब्लॉगर अविजीत राय की निर्मम हत्या ने भी कलम की आज़ादी पर सवाल उठाया था। अमेरिका में रहने वाले बांग्लादेशी अविजीत राय ‘मुक्तोमोन’ नाम का ब्लॉग चलाते थे, जिस पर विज्ञान से जुड़ी सामग्री प्रकाशित होती थी। बांग्लादेश में वे पत्नी के साथ एक पुस्तक मेले से लौट रहे थे तभी उन पर हमला हुआ और वे मारे गए। इस हमले में उनकी पत्नी फहमीदा बन्या अहमद बुरी तरह जख्मी हुईं थीं। हमलावरों ने उनकी एक उंगली काट दी थी। इस पूरी वारदात की तस्वीरें दिल दहला देने वाली थी। किसी बांग्लादेशी ब्लॉगर की यह पहली हत्या नहीं थी। बांग्लादेश में धर्मनिरपेक्ष और खुद को नास्तिक कहने वाले छह ब्लॉगर और प्रकाशक अब तक मारे जा चुके हैं।
1992 से अबतक दुनिया भर में 1252 पत्रकारों की हत्या की जा चुकी है। जिनमें सबसे ज़्यादा इराक में पत्रकारों को बंदूक का निशाना बनाया गया है। इराक में अब तक 184 पत्रकारों की हत्या की जा चुकी है।
इस लिस्ट में दूसरे नंबर पर सीरिया है, जहां अभी तक 111 पत्रकारों की हत्या हुई है। इसके बाद फिलीपिन्स (78), सोमालिया (62), अल्जीरिया (60), पाकिस्तान (60), रूस (58), कोलंबिया (47), मैक्सिको (41) में लगातार पत्रकार मारे जा रहे हैं। हालांकि पिछले दो सालों में पाकिस्तान को पत्रकारों के लिए सबसे असुरक्षित देश माना जाने लगा है।
इंटरनेशनल न्यूज़ सेफ्टी इंस्टीट्यूट के अनुसार, अकेले 2016 में पूरी दुनिया में 115 पत्रकारों की मौत हुई थीं। जिनमें हत्या के अलावा काम के दौरान मौतें भी शामिल हैं। भारत के अलावा अफगानिस्तान, रूस, कोलंबिया जैसे देशों में हत्या की घटना देखने को मिली। अफगानिस्तान में टोलो टीवी के एंटरटेंमेंट चैनल के आठ पत्रकार को मार दिया गया था।
1992 से 2011 के डेटा की बात करें तो दुनिया भर में 882 पत्रकारों की हत्या की गई थी। जिनमें सबसे ज़्यादा इराक में (151) हत्याएं हुईं, जबकि भारत में 7 हत्याएं हुईं।
इन सबको देखते हुए लगातार पत्रकारों की सुरक्षा को लेकर सवाल उठ खड़े हो रहे हैं। हत्या की घटना के अलावा छोटे-मोटे कई हमले भी देखने को मिलते हैं। कई घटनाओं का तो रिकॉर्ड भी दर्ज नहीं है। हाल ही के दिनों में पत्रकार राणा अयूब की किताब ‘गुजरात फाइल्स’ की वजह से उनपर कड़ा प्रहार किया गया। वो लगातार दक्षिणपंथियों के निशाने पर रहती हैं। रवीश कुमार के फोटो पर कालिख लगाने से लेकर उन्हें भद्दी गालियां देने जैसी घटनाएं भी हमेशा सामने आती रहती हैं।
पत्रकारों की सुरक्षा के सवाल पर फिल्ममेकर नूपुर बासु ने वेलवेट रिवॉल्यूशन नाम से एक डॉक्यूमेंट्री भी बनाई है। जिसमें उन्होंने पत्रकारों पर होने वाले हमलों को दर्शाया है। नुपूर ने महिला पत्रकारों को केंद्र में रखते हुए यह फिल्म बनाई है। उन्होंने दुनिया के अलग-अलग देशों से 6 महिला फिल्ममेकर को चुना और उन्हें अपने देश में पत्रकारों की कहानी शूट करने को कहा। इस फिल्म में दिखाया गया है कि दुनिया भर में पत्रकारों को सच्चाई सामने लाने के लिए किस तरह अपनी जान पर खेलना पड़ता है और कई बार तो परिणाम मौत के रूप में ही सामने आता है।
मीडिया और पत्रकारों के बारे में अनेक कथाएं हैं। मगर, जैसा कि ऊपर लिखित तथ्य दर्शाते हैं, यह कथ्य ही अंतिम सत्य के रूप में उभर कर सामने आता हैं कि अंततः मीडिया और पत्रकार ही वह जमात है जो दुनिया को फिर से किसी अंधेरे युग की ओर धकेले जाने के विरुद्ध सबसे बड़ा प्रतिकार है। इस प्रतिकार के लिए अपनी जान कुर्बान करने वाली मीडियाकर्मी गौरी लंकेश उन अनगिनत शहीद पत्रकारों की कतार में सबसे ताज़ा मिसाल हैं।
“A man is not aware of the future and does not know when things can go awry. Yet he plans for the future, despite the fact that the Almighty alone knows what will happen in times to come,” writes Sahil Maqbool (also known as Mohd. Maqbool Khokhar) in his masterpiece “Shabistan-e-Wajood” (The Ordeal of a Journalist), which has been adopted as a reference book on Kashmiri jails by the International Committee of the Red Cross (ICRC). Reporters Sans Frontiers (RSF) praised it as the second best book in 2009. His ‘Parchhawan’ was endowed with the ‘Best Book Award’ in 2015 by then Chief Minister Mufti Mohammad Sayeed during an award distribution ceremony organised by the Jammu and Kashmir Academy of Art, Culture and Languages (JKAACL). Currently, Sahil is the Associate Editor of ‘Buland Kashmir’, a publication of the ‘Rising Kashmir’ group.
His fate as an investigative journalist with Urdu newspaper ‘Chattan’ was cast into shadow when he was tossed into a jeep by five army men in civilian dresses in September 2004. The Armed Forces Special Powers Act (AFSPA) enables army men to pick up anyone under suspicion, with full legal impunity, in Kashmir. Charged as an ‘ISI agent’, Sahil was tortured in the ‘Hari Niwas’ Interrogation Center and faced maltreatment at the hands of security forces. Between 2004 and 2008 he was kept in Srinagar Central Jail, Kote Bhalwal Jammu Central Jail and Amphalla District Jail. Slapped with ‘Official Secrets Act’ and ‘Enemy Agents Ordinance’, Sahil was held responsible for transgressions under the Public Safety Act at different junctures. On the pretext of his visit to Pakistan earlier in 2001, he was framed in cases pertaining to espionage. Authorities accused him of colluding with militants, possessing ‘secret documents’, sharing sensitive ‘photographs’ with the Pakistan intelligence network, and attacking jail officials in prison. While he admitted his ‘professional’ contacts with a journalist from Pakistan, he categorically denied the accusations of spying.
Photo by Sanjeev Verma/Hindustan Times via Getty Images
Lodged along with prominent Kashmiri ‘tahreek’ figures like Dr Mohammad Qasim and others in prison, Sahil says, “I spent 40 months or more in jail.” In the first chapter of “Shabistan-e-Wajood”, he notes, “I had never dreamt that I would be beaten to a pulp after being tied with ropes. I had never thought that I would be pushed to the hilt in the torture cell of a jail and would have to pass days together in jail. I also did not know that I would be presented in court and I would have to seek a remand for my release from the judge.” In early 2016, speaking in a session at the Jaipur Literature Festival, he asserted that Muslims of Kashmir Valley would welcome Pandits if they return.
Following are the excerpts of an interview of Sahil Maqbool by Mohammed Sirajuddeen on issues pertaining to contemporary Kashmir.
Mohammed Sirajuddeen (MS): ‘Shabistan-e-Wajood’ details your days in prison. How would you recall your arrest and torture now?
Sahil Maqbool (SM): My arrest was a clear case of revenge by some officers in the security forces, who were exposed in my articles and write-ups. As a journalist, I spoke about human rights violations and killing of innocent people by security forces and their ransom demands. Now when I look back, it seems like a nightmare, which lasted for nearly 4 years. I lost all my job contacts. My hold as a reputed senior journalist in conflict hit Kashmir got affected. About 9 years have gone-bye since my release… but still, I am struggling to regain my work and rebuild on the areas which were badly damaged due to my arrest and false propaganda by the state agents.
MS: You were charged with being an ISI agent?
SM: Such charges provide a strong base to the police and other agencies of security establishment as they enjoy extraordinary powers under the draconian laws such as AFSPA and Disturbed Areas Act. Actually… they wanted to teach a lesson to the journalist fraternity of Kashmir, which they believed was favouring ‘separatists’ and ‘ultras’, so I was like a sitting duck for them. Nevertheless, they could not prove anything.
MS: What happens when a person is arrested and later proven innocent? Is there any provision for compensations in Jammu and Kashmir?
SM: In a state like J&K, it makes hardly any difference whether you are proven innocent or not. The person becomes paralysed for a lifetime as they don’t issue any passport or travel documents to the jailed person. Even their kith and kin suffer because of it and they can hardly get any government jobs.
MS: Do you think that State Human Rights Commission (SHRC) has become a toothless tiger?
SM:Of course yes, State or Centre doesn’t take SHRC seriously and its decisions are just formalities. There might have been dozens of such decisions, which went against the police and the armed forces, but none of them was implemented or executed. The latest example is that of an army officer, Major Gogoi, who tied a Kashmiri boy to his vehicle and subjected him to torture in the month of April this year. Instead of being punished for wanton human rights violations, the Major was rewarded and honoured by the senior Army authorities. SHRC, in a recent decision, said that State must pay compensation to the affected boy, but unfortunately, it was rejected by New Delhi.
MS: What are the difficulties a journalist faces in Kashmir under the conditions of militarization?
SM: Numerous difficulties. He or she becomes a sandwich between the armed forces and their rivals i.e. militants or resistance leadership. Sometimes even common people are not satisfied with the reporting which mainstream journalists do. Many reporters and editors lost their lives, became handicapped or faced long jail terms like me. Working in an isolated, tense and disturbed place is never easy, but people learn with the passage of time and try to fit into the situation, just for the sake of survival.
MS: Could you find any difference after the Narendra Modi-led BJP assumed power?
SM: Of course, the situation in Kashmir is tenser now, suffocating and causing more loss of life.
MS: With the coming of the technological revolution, the ‘state of things’ in Kashmir is more open to outside world. How do you see this change?
SM: Technological revolution may be happening in other parts of India or in the rest of the world, but our internet, social media and all other mediums of communication are heavily monitored, censored and blocked. We have been observing long mobile phone, internet and social media ‘crackdowns’ as well as ‘blockages’. I think it is going to get worse in Kashmir.
MS: Could you shed some light on the role of Human Rights Organisations in Kashmir?
SM:Human Rights organisations in Kashmir are not freely allowed to do their duties, they are considered to be either ‘separatists’ or ‘Pakistani agents’. Neither are they allowed to make their reports public without restrictions, nor are they allowed to travel abroad. Barring a few groups, many of the foreign rights bodies are not allowed to enter Kashmir and collect or expose the truth.
Photo by Ramesh Sharma/India Today Group/Getty Images
MS: What are the qualitative changes that have happened in ‘resistance politics’ (led by Hurriyat)?
SM: Soon after the killing of HM Militant Burhan Wani, all three factions of Kashmir resistance leadership (Syed Ali Shah Geelani, Mirwaiz Mohammad Umar Farooq and M Yaseen Malik) united and formed a coordination committee called ‘Joint Resistance Leadership’ which issued all the ‘protest programs’ under a ‘single banner’. Earlier, each of them used to go to common people separately with separate programs, but now they are ‘one platform’. Their political division was once badly felt by the common public, but their unity has provided relief to their supporters. Their calls are now followed more effectively.
MS: Is there any change in public perception with regard to Pakistan’s role in Kashmir?
SM: Yes, in the last few years, the new generation has badly felt the ‘intervention’ as well as the ‘tagging of Pakistan’. In fact, there is a feeling among the people that Pakistani support for the Kashmir issue is a negative on the international front. Here, the demand for ‘freedom’ is taken much more seriously than that of accession to Pakistan.
MS: What is inducing the young generation to glorify militancy? Do you think that the militancy of the early 1990s was different from the current wave?
SM: Yes, today’s militancy is entirely different from that of the 1990’s. Today, they are more trained, effective, committed and hidden, fewer in number but stronger in strikes. The reason behind today’s emerging militancy is a ‘total denial’ of dialogue and reconciliation from New Delhi. The fact that New Delhi never listens to political or democratic questions has forced ‘well read’ and ‘well off’ Kashmiri youth to take up arms. Today, they are well protected and served by the common people. Each and every army cordon faces heavy public protest, just to save the militants hiding inside the sieges.
MS: There are other conflicts in the Indian sub-continent, especially what we see in central India. How would you compare the state actions in Kashmir to the State-Maoist conflict?
SM: Maoist or Naxal rebellions have their own history and relevance, but there is a visible difference between them and the Kashmir problem. Kashmiris were promised a chance at ‘plebiscite’ by then Indian Prime Minister Jawaharlal Nehru. The accord or accession of J&K State to India was temporary. The UN is a ‘witness’ and a ‘guardian’ to the Kashmir issue. Moreover, Kashmir is an internationally accepted dispute with a promise to resolve it according to the will of people. The Indian state has a limited ‘legal legitimacy’ in our land, while other conflicts in India are not for a separate territory.
MS: Do you think that international community is becoming more sensitive to the ‘Kashmir question’ since the 2016 unrest?
SM: Yes, and that is quite visible. Along with the United Nations, veto powers like the US and China have been frequently talking about Kashmir. They suggested that both India and Pakistan should resolve their differences mutually.
MS: How do you view the future trajectory of the Kashmir conflict?
SM: Basically – this is not something sponsored by a company or a country. ‘Kashmir conflict’ is the name given to a strong sentiment stemming out of the peoples’ conscience in Kashmir. Imagine a 7-year-old or a 10-year-old boy holding a stone in his hands and fighting against a fully-equipped Indian soldier. They will grow up with negative sentiment against the Indian State. These fearless boys transform themselves into ‘mighty rebels’ and one can hardly change their mentality. May be there are ‘ups’ and ‘downs’ in their rebellion, but until the concerns are resolved according to the ‘will of the people’, it will never die.
The author is a PhD Candidate at the Centre for Political Studies, School of Social Sciences, Jawaharlal Nehru University (JNU), New Delhi, India. This interview was first published here.
एक बेहद शालीन मगर साहसी महिला पत्रकार गौरी लंकेश की निर्मम हत्या ठीक उनके घर के बाहर दरवाज़े पर कर दी गई। कर्नाटक के डीजीपी के मुताबिक अभी ना तो हत्यारे का पता चल सका है और ना हत्या के कारण का। डीसीपी अनुचेत के अनुसार इस मामले की जांच के लिए गठित की गई तीन विशेष टीमें संदिग्ध हत्यारों की तलाश में जुटी हैं।
गौरी लंकेश की हत्या के बारे में कहा जा रहा कि आज से दो वर्ष पूर्व प्रोफेसर एमएम कलबुर्गी की हत्या का सीन वापस से दुहराया गया है। सोशल मीडिया पर एक खासी चर्चा हो रही है और कहा जा रहा कि जिस विचारगत अपराध की सज़ा के एवज़ में कलबुर्गी की हत्या उनके दरवाज़े पर कर दी गई थी, गौरी भी ठीक उसी रास्ते पर थीं।
गौरी की पत्रकार दोस्त और ‘गुजरात फाइल्स’ की चर्चित लेखिका राणा अय्यूब ने तो अपनी दोस्त के हत्यारों पर निशाना साधते हुए कहा है, “इस देश की हर गली में एक गोड्से घूम रहा है।” यानी हत्यारों की विचारगत जाति वही है, जो दाभोलकर, कलबुर्गी, तथा पानसरे की हत्या में संलग्न थी। गौरी लंकेश ने राणा अय्यूब की किताब “गुजरात फाइल” का कन्नड़ में अनुवाद भी किया था।
बता दें कि सनातन संस्था और अन्य दक्षिणपंथियों पर आरोप है कि 2013 में उन्होंने अंधविश्वास और कुप्रथाओं के खिलाफ आवाज़ उठाने वाले डॉ. दाभोलकर की हत्या कर दी थी। दाभोलकर सुबह टहलने के लिए निकले थे जब उनपर करीब से गोलियां चलाई गई थीं। वहीं फरवरी 2015 में कुछ अज्ञात हमलावरों ने महाराष्ट्र के वरिष्ठ सीपीआई नेता गोविंद पानसरे की गोली मारकर हत्या कर दी थी। पानसरे कोल्हापुर में चल रहे टोल विरोधी आंदोलन में सक्रिय रूप से शामिल थे। वहीं 2015 की ही अगस्त में कलबुर्गी की उनके घर के बाहर हत्या कर दी गई थी। कलबुर्गी अंधविश्वासों और घर की मूर्ति पूजा के खिलाफ लड़ाई लड़ रहे थे। गौरी लंकेश ने भी अपनी वैचारिक प्रतिबद्धता पर ज़ोर देते हुए यह ऐलान कर रखा था कि ‘मैं एक सेक्युलर देश की इंसान हूं और मैं किसी भी साम्प्रदायिक कट्टरता के खिलाफ हूं।’ और अंततः इस प्रतिबद्धता की कीमत अपनी जान देकर चुकाने के बाद गौरी लंकेश भी शहीद दाभोलकर, कलबुर्गी तथा पानसरे की कतार में शामिल हो गईं।
“खबरों की माने तो डॉ दाभोलकर, पानसरे और फिर कलबुर्गी की हत्या के बाद लंकेश लगातार कट्टर हिन्दुत्ववादियों के निशाने पर थीं। “
खबरों की माने तो डॉ दाभोलकर, पानसरे और फिर कलबुर्गी की हत्या के बाद लंकेश लगातार कट्टर हिन्दुत्ववादियों के निशाने पर थीं। राणा अय्यूब ने भी बीबीसी से बातचीत करते हुए बताया, “गौरी को पिछले कुछ सालों से श्रीराम सेना जैसी दक्षिणपंथी विचारधारा वाले संगठनों से कथित तौर पर धमकियां मिल रही थीं।”
कर्नाटक में सांप्रदायिकता के खिलाफ अपने सख्त रुख के लिए लंकेश की व्यापक पहचान थी। उनकी लोकप्रियता का अंदाज़ा उनके द्वारा संपादित पत्रिका ‘लंकेश पत्रिके’ से लगाया जा सकता है। इस पत्रिका में किसी भी तरह के विज्ञापन नहीं लिए जाते हैं और समान विचारधाराओं वाले एक ग्रुप द्वारा यह संचालित है। मगर अपनी भारी मांग के कारण इसे कभी भी आर्थिक रुकावट का सामना नहीं करना पड़ा। यह पत्रिका उनके पिता पाल्याड़ा लंकेश ने शुरू किया था। इनवेस्टिगेटिंग रिपोर्ट के लिए इस पत्रिका की खासी पहचान है। इस साप्ताहिक पत्रिका का साप्ताहिक वितरण लगभग 70 हज़ार है। गौरी स्त्री मुद्दों, आदिवासी मुद्दों के साथ ही हर तरह के सामाजिक न्याय के खिलाफ बेधड़क लिखती थीं। साथ ही कर्नाटक के सभी दक्षिणपंथी संगठनों के खिलाफ कन्नड़ में मुखर होकर लिखती थी गौरी लंकेश।
पिछले साल कर्नाटक के भाजपा सांसद प्रहलाद जोशी ने गौरी के खिलाफ मानहानी का मुकदमा दर्ज किया था, जिसमें उन्हें 6 महीने जेल की सज़ा हई थी। गौरी फिलहाल बेल पर थीं। दरअसल, गौरी ने 2008 में प्रहसाद जोशी के खिलाफ ‘Darodegilada BJP galu’ नाम से एक आर्टिकल पब्लिश किया था, जिसमें प्रहलाद जोशी के साथ ही बीजेपी लीडर उमेश दूशी, शिवानंद भट और वेंकटेस को भी निशाना बनाया गया था। कोर्ट का मानना था कि गौरी ने इन लोगों पर जो आरोप लगाए हैं उसका सबूत देने में वो नाकाम रही हैं, जिसकी वजह से उनपर मानहानि का केस दर्ज किया गया था। इस केस के अलावा गौरी पर और भी दूसरे कट्टर हिंदूवादियों ने भी मुकदमें दर्ज किए थे।
गौरी लंकेश की हत्या के बाद कल रात से ही ट्विटर पर लोग लगातार अपना रिएक्शन दे रहे हैं। जहां इनके समर्थन में ट्वीट देखने को मिल रहे तो वहीं कुछ लोग गौरी लंकेश की हत्या को सही भी बता रहे हैं। इन सभी के बीच निखिल दधीच नाम के एक शख्स का एक ट्वीट वायरल हो रहा है। इस ट्वीवटर यूज़र ने लिखा है, “एक कुतिया कुत्ते की मौत क्या मरी सारे पिल्ले एक सुर में बिलबिलाता रहे है।” हालांकि इस ट्वीट को डिलीट कर दिया गया है। लेकिन, यह ट्वीट इसलिए भी चर्चा का विषय बन गया है क्योंकि इस आदमी को नरेंद्र मोदी फॉलो करते हैं। सोशल मीडिया पर इसकी आलोचना की जा रही कि हमारे देश के प्रधानमंत्री ऐसी मानसिकता वाले आदमी को फॉलो करते हैं।
ट्वीटर के अलावा राजनीतिक गलियारों में भी इस हत्या को लेकर बयानबाज़ी शुरू हो गई है। राहुल गांधी ने इस हत्या की निंदा करते हुए कहा कि जो भी बीजेपी-आरएसएस की विचारधारा के खिलाफ बोलता है, उसे दबाया जाता है, पीटा जाता है, निशाना बनाया जाता है और कभी-कभी मार भी दिया जाता है। इसका जवाब देते हुए भाजपा के बड़े नेता नितिन गडकरी ने कहा, “गौरी लंकेश मर्डर पर राइट विंग के खिलाफ कोई सबूत नहीं है।” उन्होंने साथ ही कहा कि क्या पीएम मोदी अब हर मुद्दे पर बोलें। उन्होंने कहा कि फिलहाल मोदी विदेश यात्रा पर हैं तो ऐसे में वे इस घटना पर नहीं बोलेंगे। अब इस मुद्दे पर भी बहस चल रही कि क्या प्रधानमंत्री के लिए पत्रकार की हत्या मायने नहीं रखती ? बहरहाल, इन सबके बीच एक बार फिर पत्रकार की सुरक्षा का सवाल कहीं गुम होता हुआ दिख रहा है।
इन सबके बीच गौरी लंकेश की हत्या से कुछ देर पहले किए गए उनके ट्वीट पर नज़र जाती है। उन्होंने लिखा था, ”मुझे ऐसा क्यों लगता है कि हममें से कुछ लोग अपने आपसे ही लड़ाई लड़ रहे हैं। हम अपने सबसे बड़े दुश्मन को जानते हैं। क्या हम सब प्लीज़ इस पर ध्यान लगा सकते हैं।” हालांकि ये ट्वीट उन्होंने किसी और परिपेक्ष्य में लिखा होगा लेकिन, अभी उनकी हत्या को लेकर चल रही बहस में भी यह एक कटाक्ष के रूप में दिखता है।
Today, I see red. I see the red of Gauri Lankesh’s blood spilled last night. I see another dissenter another fighter, killed. I see another stalwart of my fraternity, gone.
Her death is being equated with that of the Sahitya Akademi award-winning writer, M M Kalburgi. I believe that she deserves to be looked at in her own individual, independent space. Today a teacher described her as someone “who did not know fear.” I would agree with him wholeheartedly. It takes courage to protest and dissent in our democracy.
Gauri Lankesh did just that. She protested. She protested against the murder of MM Kalburgi. She protested when Yogesh Master’s face was smeared black with ink for his book ‘Dhundhi’. She protested against the Hindutva agents in this country and stood boldly against any social injustices committed in the name of religion. She protested against caste politics that exist in the country and was vehemently pro-Dalit and pro-poor. She protested against the Special Privileges Act for the Karnataka Assembly. She protested.
She had helped several Naxalites into the mainstream after they had surrendered. Lankesh was the editor of the weekly tabloid ‘Gauri Lankesh Patrike’ and she was used to death threats. She had been convicted in a defamation suit filed by BJP leaders. Amit Malviya, the party’s head of information technology said that every journalist should take this as a message. “Hope every journo takes note,” he said in a tweet.
Prahlad Joshi, BJP MP from Dharwad, gets Gouri Lankesh convicted in a defamation case. https://t.co/6DQTYDY1rO Hope other journos take note.
Her legacy lies in fearlessness. Her legacy lies in dissent. Her legacy lies in never backing down and fighting for what is right. Most of all, her legacy lies in the true spirit of democracy. It lies in a humanitarian approach against all social injustices.
Gauri Lankesh was more than just a journalist. Gauri Lankesh, for me, is an idea. Gauri Lankesh is the word that can never be erased. She has been murdered.
Her cold hearted murder is not about which political organization was behind it. It is about our right to dissent. It is about freedom of speech and it is about freedom of the press. So, you can form your SIT’s and get the CBI to investigate. You can probe into Maoist links to her murder. The truth is that you will have achieved nothing. You will continue to ban news channels from telecasting. You will continue to impose Emergency.
There will be another courageous rebel and there will be a 100 more people baying for that individual’s blood. This madness won’t stop.
I assure you, neither will I stop dissenting.
The post A Young Journalist’s Lament For Gauri Lankesh appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.
This review is filled with spoilers and reveals major plot points from the film.
“Arjun Reddy” is no longer just a film. Within two weeks of its release, it has become a major sensation. It is being called a cult film, a path breaker and a trendsetter by many. Vijay Deverakonda a.k.a Arjun Reddy is being worshipped by students and youngsters as the new hero.
While a majority of the audience can’t stop singing praises about the film, there are quite a few who are talking about why this film is deeply problematic. While I can appreciate a few aspects of the film, I cannot disagree with the criticism either.
Firstly, let me make an honest confession. I am not a regular Tollywood movie goer. Being born and brought up in Andhra Pradesh, I have watched a fair share of Telugu cinema and followed the changing trends of Tollywood in the past few years. I don’t run to the cinemas every Friday to catch the latest Telugu film but whenever a movie receives critical or commercial acclaim, I try to catch-up with it.
I watched “Arjun Reddy” for three reasons: Firstly, it has been receiving a lot of attention and I decided to check if it is really worth it.Secondly, I have admired Vijay Devarakonda as an actor ever since I saw him in “Yevada Subramanyam” and “Pelli Choopolu.” And thirdly, because this friend of mine with whom I talk all the time threatened to stop talking to me if I didn’t watch it.
So I landed up at IMAX for an afternoon show. And here’s my take on the film.
The Plot
Throughout the first half, I was cringing and yawning, hoping to get a cup of steaming hot coffee to make me feel better. The movie has a sleepy pace with not much happening in the first hour. All we know is that Arjun Reddy is a brilliant medical student and a topper, but has major anger management issues. He is respected throughout the college by his professors, friends, and juniors. An argument with the college dean after a rough football match provokes him to leave the college until he comes across the love of his life – a young docile girl who was walking to get a cup of tea, preceded and followed by two other girls. This very scene sets the conflict between the two characters – Arjun Reddy is a free spirited and brave fellow who, at that very moment, decides not to leave college while Preeti Shetty, his love interest, is an almost dumb girl who is simply following the herd. Arjun is a rebel with a cause while Preeti is a part of the herd. She dim wittingly follows the girls to get her cup of tea but steals innocent glances at the handsome Arjun.
Now Arjun decides to not only stay back in college but he lets all his juniors know that Preeti is going to be his girlfriend. He storms into a classroom on the pretext of announcing a medical camp and using the shield of language warns all his juniors that nobody is supposed to date Preeti. He also tells them to let all the other students know that Preeti ‘belongs’ to him.
A few scenes later, he storms into Preeti’s classroom and asks her to step out with him. He begins taking her classes by drawing anatomy patterns on her hand. On one occasion, he also leaves a gentle kiss on her cheek. All through this, Preeti remains silent without a word of protest, like a docile calf who doesn’t know anything but to follow the herd. She simply follows his commands.
We don’t know much about Preeti as her character is under-developed but we presume she is gradually falling in love with Arjun and she realizes this when Arjun fights with the guys who abuse her.
Until this point, the film is highly misogynistic and problematic because it shows an alpha male forcing his love on a young helpless girl. But the director gradually turns the tables. While Arjun might have kissed Preeti on her cheek and forced his love on her, he never dares to touch her without her consent. He waits patiently for her Preeti’s consent.
After a long ultra-sweet tale of young lovers sinking into the abyss of romance, one fine day, Arjun and Preeti are caught kissing on Preeti’s terrace by her father who then slaps Arjun and throws him out of the house. This is when Arjun questions the father on the label of marriage. If they were caught kissing after being married, nobody would have a problem but because they are not married, they are being judged and ridiculed. But the truth is that Arjun and Preeti are already emotionally married to each other. So why judge them? Arjun puts across his point very sensibly and boldly here. But Preeti’s father, the antagonist of the film, won’t budge.
Arjun is angry and provokes Preeti to speak up, he says ‘be a woman and go talk to your father’ but poor helpless Preeti can’t utter a word in front of her father. Arjun gives an ultimatum – if Preeti is unable to make up her mind in six hours, she will lose him.
After six hours, Arjun doesn’t receive a message because Preeti doesn’t have access to her phone anymore. So Arjun injects himself with a dose of morphine and passes out for two days during which Preeti is forcibly married off to another guy from the same caste as hers.
Arjun Reddy, the brilliant medical student, and a topper, now transforms himself into a contemporary Devdas. He becomes a drug addict, an alcoholic and frequently visits prostitutes. What he does when he visits prostitutes is unclear because the first time we see him in the bedroom of another woman, he threatens her with a knife to undress, but in the later scenes, he is shown celebrating Ram Navami, Dussehra, and Diwali with other women.
During this sob-sob period, Arjun hits an all-time low when he collapses in the operation theatre while performing a surgery. While it is to be noted that he didn’t want to perform the surgery in the first place, he had informed the nurse that he is drunk and cannot do it, but he helplessly ends up doing it and lands amidst a major controversy. His daring confession in the legal room makes us empathize with him and probably demands an element of respect because he chooses truth over everything else.
Now, this is the problem with Arjun Reddy. He is bold, courageous and truthful. He speaks his mind without any fear or regret. He is not shy to shed a few tears on the screen. He talks about PMS and educates his friend on how to support a woman during her periods instead of leaving her alone. Through the climax, when he meets Preeti again and discovers she is pregnant, he is willing to accept this new flesh and blood as his own child and have her back in his life. This is the path-breaking Arjun Reddy who goes against every societal norm and a conservative view of masculinity.
For a country that’s heavily obsessed with religion and that worships Lord Ram, the king who banished his pregnant wife on the basis of baseless gossip, Arjun Reddy is a bold new man because he dares to accept his pregnant lover who is married to another man and who, probably is carrying another man’s child.
But Sadly, We Cannot Make A Hero Out Of Arjun Reddy.
The man who wants to beat misogyny is misogynistic himself. How can you beat misogyny using misogyny?
In India, we don’t just watch films but we consume them and we restructure our lives based on films. When Shah Rukh Khan stands on a hilltop and stretches his arms wide open to propose to his girlfriend, every SRK fan follows suit. When Salman Khan declares his love for a girl by changing his hair style, every self-proclaimed ‘bhai ka fan’ does the same. And when Arjun Reddy walks back into his college and decides to choose his girlfriend without asking her, there is a risk that this could become the new way of choosing a girlfriend. This is why Arjun Reddy as a film is deeply problematic.
While Arjun criticizes his friend’s brother-in-law for objectifying women, he himself forces Preeti to befriend a fat girl because ‘fat girls will be loyal friends’. Isn’t labelling a girl fat objectifying her? While he waits patiently for Preeti to make the first move, his gentlemanly gesture here is highly questionable because he never gave her the option to choose him in the first place. He chose her and forced his love on her. So is it okay to be a gentleman and respect women after you forcefully get into a relationship with one?
Now, some people might argue that Arjun changed as a person after he fell in love. He began to respect women after discovering love. Does this mean it is okay to objectify women until you find love in life?
Also, how can an alcoholic and a drug-addict recover from his habits so easily? After he loses his grandmother, Arjun Reddy is suddenly a changed person. The film makes de-addiction look so effortless that it will send wrong signals to all the students watching the film. These young minds won’t hesitate consuming alcohol and drugs, probably because Arjun Reddy gets over them so easily later. Poor souls are being deceived by the filmmaker!
What adds to the pathos of the movie-goer is that, during all this, we hardly know anything about Preeti Shetty or the heroine who falls miserably in love with Dr Arjun Reddy in the second half. Both characters are modelled after Paro and Chandramukhi (of the Devdas fame) and are half baked characters with hardly any opinions of their own. This film is about Arjun Reddy and Arjun Reddy alone, not about Preeti or another character. Even during the end, when Preeti miraculously reveals that she never let her husband touch even her little finger, we are left to wonder how she could have possibly managed that. The woman who couldn’t speak a word when Arjun forced her to walk out of her classroom, or in front of her father who got her forcibly married off to a man she didn’t know – how could she defy her husband, leave her in-laws and begin to live independently as a pregnant woman hoping for her boyfriend to come back and claim her one day?
The lines of right and wrong are blurred in the film and it is unfortunately left to us, the audience, to decide who is Arjun Reddy. Is he the new path-breaking Tollywood hero who talks about respecting women and is willing to accept his girlfriend post her marriage or is he a falsely justified reason to storm into a college and choose one’s girlfriend without her consent?
When Arjun shouted at Preeti, telling her to ‘be a woman’ and speak up in front of her father, we as the audience wished that we had screamed at her to ‘be a woman’ and speak up when Arjun first forced her to leave the classroom.
भारत में पुरातत्व एवं विरासतों को लेकर उपेक्षा हमेशा ही दिखाई दी है। पिछले महीने ही खबर आई थी कि देश के 24 स्मारक लापता हो गए हैं, मतलब कि ये अतिक्रमण या कथित विकास कार्यों के कारण अस्तित्व खो चुके हैं। शासन की तरफ से वैसे भी स्मारक एवं पुरावशेष कभी प्राथमिकता में नहीं रहे हैं भले ही इनका राजनीतिक लाभ लिया जाता रहा है। हमारे सभ्य नागरिक भी इन्हें पीकदान बनाने में कसर नहीं छोड़ते हैं।
पर अब इन स्मारकों पर एक और खतरा संसद में प्रस्तावित AMASR अधिनियम के प्रावधानों में बदलाव के कारण बढ़ने जा रहा है। वर्तमान में 1958 के प्राचीन संस्मारक* तथा पुरातत्वीय* स्थल और अवशेष अधिनियम (The Ancient Monuments and Archaeological Sites and Remains Act ) के 2010 के संशोधित रूप के तहत संरक्षित स्मारकों की 100 मीटर की परिधि* में किसी भी तरह का निर्माण कार्य प्रतिबंधित है, जबकि 100 मीटर से 300 मीटर परिधि तक के क्षेत्र में निर्माण/मरम्मत कार्य के लिए राष्ट्रीय स्मारक प्राधिकरण(National Monuments Authority) की अनुमति की आवश्यकता होती है। लेकिन संसद में प्रस्तावित संशोधन* के द्वारा सरकार ‘जनकार्यों’ (Public Works) के नाम पर 100 मीटर के प्रतिबंधित क्षेत्र में निर्माण कार्यों को अनुमति प्रदान करना चाहती है।
वैसे ही हमारे देश में कानून का पालन बहुत कम होता है, कागज़ों पर कानून की किताब लिख दी जाती हैं और व्यवहार में उनका खुलेआम उल्लंघन होता है तो जब कानून ही शिथिल कर दिया जायेगा तब क्या परिणाम निकलेगा। वर्तमान सरकार कथित विकास कार्यों के लिए स्मारकों की सुरक्षा को भी ताक पर रखने को तैयार हो गई है। हालांकि इस संशोधन के अनुसार प्रतिबंधित क्षेत्र में ऐसा ही निर्माण किया जा सकता है, जिसका वित्तीय पोषण केंद्र सरकार द्वारा जनता के हित में हो और इस क्षेत्र में निर्माण के अतिरिक्त कोई अन्य विकल्प न हो।
पर यह महज़ कानूनी परिभाषा है क्योंकि सरकार के द्वारा काफी पहले से इस अधिनियम में संशोधन की पहल की जा रही है। जनवरी में संस्कृति मंत्रालय से जारी कैबिनेट नोट में इस बदलाव की ज़रूरत बताते हुए कुछ उदाहरण भी दिए गए थे जैसे कि गुजरात के ‘रानी की वाव’ स्मारक स्थल के नज़दीक इस कानून के कारण रेलवे लाइन नहीं बनाई जा सकी और उस लाइन का मार्ग परिवर्तित करना पड़ा।
पर सवाल यह है कि क्या हमारी विरासतों की सुरक्षा, कथित विकास कार्यों के लिए उपेक्षित की जा सकती है? हमारे सैकड़ों या हज़ार वर्षों के स्मारक क्या इन निर्माण कार्यों के दौरान पैदा हुए कंपन, शोर, प्रदूषण, भूमि की अस्थिरता और मानवीय हस्तक्षेप को झेल पायेंगें? ज़ाहिर तौर पर यहां पर निर्माण कार्य विशेषज्ञ समिति की रिपोर्ट के बाद ही शुरू किया जा सकेगा, लेकिन भारतीय पुरातत्व सर्वेक्षण द्वारा संरक्षित 3686 स्मारकों में से बहुतों की बदहाल स्थिति, क्या उस विशेषज्ञता पर संदेह नहीं होने देगी? भारतीय स्मारक प्राधिकरण(National Monuments Authority) का प्राधिकार क्या पूरी तरह से शासकीय मंशा के प्रभाव से मुक्त रह सकेगा?
सरकार का निजीकरण का आग्रह बढ़ता ही जा रहा है, भविष्य में इस 100 मीटर के दायरे को निजी क्षेत्र के प्रभावक्षेत्र में भी लाया जा सकता है।
पूर्व में भी विकास कार्यों की योजनाओं में वर्तमान कानून का प्रभाव पड़ा है पर उनका विकल्प भी निकाला गया है। दिल्ली मेट्रो की पीली लाइन पहले क़ुतुब मीनार के बहुत नज़दीक से गुज़रने वाली थी, लेकिन बाद में इसका मार्ग परिवर्तन कर इसे कुछ दूर ले जाया गया।
विकास कार्य निःसंदेह आवश्यक है पर हमें अपनी विरासतों की रक्षा को भी प्राथमिकता देनी चाहिए। यह प्रस्तावित संशोधन विधेयक संसद में पेश हो चुका है। यदि सिविल सोसाइटी द्वारा जल्द कुछ नहीं किया गया तो कुछ ही समय में यह कानूनी रूप से मान्य हो जायेगा। यद्यपि इतिहास और विरासत प्रबंधन से जुड़े कुछ लोगों और मीडिया के छोटे से वर्ग ने इसके खिलाफ आवाज़ उठाई लेकिन किसी बड़े मंच से इसके खिलाफ कोई माहौल नहीं बन पाया।
